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今尾景年（1845 – 1924）著名画家陈之佛的重要取法对象之一。明治时期至大正时期日本著名四条派画家，擅长色彩丰富的花鸟画，11岁时师从浮世画师梅川东居学习铜版画。明治初期开始研究日本绘画，多次向盐川文麟所创办的「如云社」投递作品。1875年起曾多次在京都博览会获奖。1877年在山本章夫的指导下开始创作《景年花鸟画谱》，并于1891年开始发行，发行后广受好评。50岁后到达其绘画的巅峰，与竹内栖凤、山元春挙等人一起为日本画的近代化而努力。被誉为明治前期京都画坛的实力派画家。

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《景年花鸟画谱》以一年四季 花鸟为主题的写生作品，分“春”、“夏”、“秋”、“冬”四部，共134幅画，幅幅都是写生，描绘的题材异常丰富，花鸟几乎无所不备，而且禽鸟造型准确逼真，无论飞、动、栖、止，姿态皆自然生动。这种生动准确的花鸟造型是宋元以后，特别是晚清文人写意占主导的花鸟画里难得一见的。

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与此同时，《景年花鸟画谱》不仅造型准确逼真，而且还展现了东方的白描线条韵味，这使20世纪初东渡日本留学的高剑父非常有认同感，将之奉为范本。1990年台北敦皇艺术股份有限公司印行的《高剑父写生稿》中有不少是临摹《景年花鸟画谱》的习作。在其主持广州市立美术专科学校时，曾单色翻印过这套画谱用于教学。据说，直到1940年代末期，高剑父还将《景年花鸟画谱》郑重的推荐给学生杨之光，作为绘画临摹的范本。

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事实上，北平美术专门学校（中央美术学院的前身）的首任校长郑锦，对这套画谱的珍视程度，较之高剑父，有过之而无不及。据说《景年花鸟画谱》是他多年案头常备常读之书，他甚至在《景年花鸟画谱》的夏之部失落后，穷数月之力临摹复制了一册来配全整套。

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在高剑父、郑锦之后留学日本的陈之佛，也从《景年花鸟画谱》获益许多。我们今天能见到的陈之佛作品里，有些禽鸟造型直接出自《景年花鸟画谱》。

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1978年12月，天津市艺术学院（今天津美术学院）刊印过孙其峰1974年用墨笔白描临摹的《景年花鸟画谱》30余幅，用于花鸟画教学。陆抑非执教浙江美术学院（今中国美术学院）时，从《景年花鸟画谱》中选出一些典型的禽鸟姿态摹绘的白描课徒稿，至今仍然是中国美术学院中国画系花鸟专业新生学习禽鸟造型与白描线条的优秀范本。

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